It is customary to give long catalogues of the _characters_ of art. Having reached this point of the treatise, after having studied art as spiritual activity, as theoretic activity, and as special theoretic activity (intuitive), we are able to discover that those varied and numerous determinations of characters, where they refer to anything real, do nothing but represent what we have already met with as genera, species and individuality of the æsthetic form. To the generic are reducible, as we have already observed, the characters, or rather, the verbal variants of _unity,_ and of _unity_ in _variety,_ of _simplicity,_ or _originality,_ and so on; to the specific, the characters of _truth,_ of _sincerity,_ and the like; to the individual, the characters of _life,_ of _vivacity,_ of _animation,_ of _concreteness,_ of _individuality,_ of _characteristicality_. The words may change again, but they will not contribute anything scientifically new. The analysis of expression as such is completely effected in the results expounded above. [Sidenote: _Non-existence of modes of expression._] It might, on the other hand, be asked at this point if there be _modes_ or _degrees_ of expression; if, having distinguished two degrees of activity of the spirit, each of which is subdivided into two other degrees, one of these, the intuitive-expressive, is not in its turn subdivided into two or more intuitive modes, into a first, second or third degree of expression. But this further division is impossible; a classification of intuition-expressions is certainly permissible, but is not philosophical: individual expressive facts are so many individuals, not one of which is interchangeable with another, save in its common quality of expression. To employ the language of the schools: expression is a species which cannot function in its turn as a genus. Impressions or contents vary; every content differs from every other content, because nothing repeats itself in life; and the irreducible variety of the forms of expression corresponds to the continual variation of the contents, the æsthetic synthesis of impressions. [Sidenote: _Impossibility of translations._]